O.F. Deutsch.
Music Publishers’ Numbers.
London, 1946.
subject: history of music printing and engraving.

Suzanne Eggleston.
Notes.
New periodicals, 51(2):657(7), Dec 1994.
A list of new music periodicals covering the period Jun.-Dec. 1994. Includes
aims, formats and a description of the contents of each listed periodical.
Includes Music Notation News.

Jean Charles Francois.
Writing without representation, and unreadable notation..
Perspectives of New Music, 30(1):6(15), Winter 1992.
subject: Modern music has outgrown notation. While the computer is used to
write down music with accuracy never before achieved, the range of modern
sounds has surpassed the relevance of the computer...

David Fuller.
The Journal of Musicology, volume 7.
Winter 1989.
Notes and inegales unjoined: defending a definition. (written-out inequalities
in music notation).

Harry Patch.
Genesis of a Music.
University of Wisconsin Press, Madison, 1949.
subject: early notation.

B Pattison.
Notes on Early Music Printing.
The Library, xix:389-421, 1939.
subject: history of music printing and engraving.

Sandra Pinegar.
Current Musicology.
Number 53. July 1993.
The seeds of notation and music paleography.

Richard Rastall.
The notation of Western music : an introduction.
St. Martin’s Press, New York, N.Y., 1982.
Musical notation.

Richard Rastall.
Music & Letters, volume 74.
November 1993.
Equal Temperament Music Notation: The Ailler-Brennink Chromatic Notation.
Results and Conclusions of the Music Notation Refor by the Chroma Foundation
(book reviews).

Howard Risatti.
New Music Vocabulary.
University of Illinois Press, Urbana, Illinois, 1975.
A Guide to Notational Signs for Contemporary Music.

Leo Treitler.
The Journal of Musicology, volume 10.
Spring 1992.
The unwritten and written transmission, of medieval chant and the start-up of
musical notation. Notational practice developed in medieval music to address
the written tradition for chant which interacted with the unwritten vocal
tradition.

unknown author.
Pictorial History of Music Printing.
H. and A. Selmer, Inc., Elhardt, Indiana.
subject: history of music printing and engraving.

M.L West.
Music & Letters, volume 75.
May 1994.
The Babylonian musical notation and the Hurrian melodic texts. A new way of
deciphering the ancient Babylonian musical notation.

C.F. Abdy Williams.
The Story of Notation.
Charles Scribner’s Sons, New York, 1903.
subject: general notation.

Emmanuel Wintermitz.
Musical Autographs from Monteverdi to Hindemith.
Princeton University Press, Princeton, 1955.
subject: history of music printing and engraving.

Bibliografía sobre notación por ordenador

G. Assayaag and D. Timis.
A Toolbox for music notation.
In Proceedings of the 1986 International Computer Music Conference,
1986.

M. Balaban.
A Music Workstation Based on Multiple Hierarchical Views of Music.
San Francisco, In Proceedings of the 1988 International Computer Music
Conference, 1988.

Alan Belkin.
Macintosh Notation Software: Present and Future.
Computer Music Journal, 18(1), 1994.
Some music notation systems are analysed for ease of use, MIDI handling. The
article ends with a plea for a standard notation format. HWN.

Herbert Bielawa.
Review of Sibelius 7.
Computer Music Journal, 1993?.
A raving review/tutorial of Sibelius 7 for Acorn. (And did they seriously
program a RISC chip in ... assembler ?!) HWN.

Dorothea Blostein and Lippold Haken.
Justification of Printed Music.
Communications of the ACM, J34(3):88-99, March 1991.
This paper provides an overview of the algorithm used in LIME for spacing
individual lines. HWN.

Dorothea Blostein and Lippold Haken.
The Lime Music Editor: A Diagram Editor Involving Complex
Translations.
Software Practice and Experience, 24(3):289–306, march 1994.
A description of various conversions, decisions and issues relating to this
interactive editor HWN.

R. F. Ericson.
The DARMS Project: A status report.
Computing in the humanities, 9(6):291–298, 1975.
Gourlay [gourlay86] writes: A discussion of the design and potential uses of
the DARMS music-description language.

H.S. Field-Richards.
Cadenza: A Music Description Language.
Computer Music Journal, 17(4), 1993.
A description through examples of a music entry language. Apparently it has no
formal semantics. There is also no implementation of notation convertor. HWN.

David A. Gomberg.
A Computer-Oriented System for Music Printing.
PhD thesis, Washington University, 1975.

David A. Gomberg.
A Computer-oriented System for Music Printing.
Computing and the Humanities, 11:63-80, march 1977.
Gourlay [gourlay86] writes: "A discussion of the problems of representing the
conventions of musical notation in computer algorithms.".

John. S. Gourlay.
A language for music printing.
Communications of the ACM, 29(5):388–401, 1986.
This paper describes the MusiCopy musicsetting system and an input language to
go with it.

John S. Gourlay, A. Parrish, D. Roush, F. Sola, and Y. Tien.
Computer Formatting of Music.
Technical Report OSU-CISRC-2/87-TR3, Department of Computer and Information
Science, The Ohio State University, 1987.
This paper discusses the development of algorithms for the formatting of
musical scores (from abstract). It also appeared at PROTEXT III, Ireland
1986.

John S. Gourlay.
Spacing a Line of Music,.
Technical Report OSU-CISRC-10/87-TR35, Department of Computer and Information
Science, The Ohio State University, 1987.

John Grøver.
A computer-oriented description of Music Notation. Part III: Accidental
Positioning.
Technical Report 135, Department of informatics, University of Oslo, 1989.
Placement of accidentals crystallised in an enormous set of rules. Same remarks
as for [grover89-twovoices] applies.

John Grøver.
A computer-oriented description of Music Notation. Part I. The Symbol
Inventory.
Technical Report 133, Department of informatics, University of Oslo, 1989.
The goal of this series of reports is a full description of music formatting.
As these largely depend on parameters of fonts, it starts with a verbose
description of music symbols. The subject is treated backwards: from general
rules of typesetting the author tries to extract dimensions for characters,
whereas the rules of typesetting (in a particular font) follow from the
dimensions of the symbols. His symbols do not match (the stringent)
constraints formulated by eg. [wanske].

John Grøver.
A computer-oriented description of Music Notation. Part II: Two Voice
Sharing a Staff, Leger Line Rules, Dot Positioning.
Technical Report 134, Department of informatics, University of Oslo, 1989.
A lot rules for what is in the title are formulated. The descriptions are long
and verbose. The verbosity shows that formulating specific rules is not the
proper way to approach the problem. Instead, the formulated rules should
follow from more general rules, similar to [parrish87-simultaneities].

Lippold Haken and Dorothea Blostein.
The Tilia Music Representation: Extensibility, Abstraction, and
Notation Contexts for the Lime Music Editor.
Computer Music Journal, 17(3):43–58, 1993.

Lippold Haken and Dorothea Blostein.
A New Algorithm for Horizontal Spacing of Printed Music.
Banff, In International Computer Music Conference, pages 118-119, Sept
1995.
This describes an algorithm which uses springs between adjacent columns.

Wael A. Hegazy.
On the Implementation of the MusiCopy Language Processor,.
Technical Report OSU-CISRC-10/87-TR34, Department of Computer and Information
Science, The Ohio State University, 1987.
Describes the "parser" which converts MusiCopy MDL to MusiCopy Simultaneities
and columns. MDL is short for Music Description Language [gourlay86]. It
accepts music descriptions that are organised into measures filled with
voices, which are filled with notes. The measures can be arranged
simultaneously or sequentially. To address the 2-dimensionality, almost all
constructs in MDL must be labeled. MDL uses begin/end markers for attribute
values and spanners. Rightfully the author concludes that MusiCopy must
administrate a "state" variable containing both properties and current
spanning symbols. MusiCopy attaches graphic information to the objects
constructed in the input: the elements of the input are partially complete
graphic objects.

Wael A. Hegazy and John S. Gourlay.
Optimal line breaking in music.
Technical Report OSU-CISRC-8/87-TR33, Department of Computer and Information
Science, The Ohio State University,, 1987.

Wael A. Hegazy and John S. Gourlay. (J. C. van Vliet, editor).
Optimal line breaking in music.
Cambridge University Press, In Proceedings of the International
Conference on Electronic Publishing, Document Manipulation and Typography.
Nice (France), April 1988.

Giovanni Müller.
Interaktive Bearbeitung konventioneller Musiknotation.
PhD thesis, Eidgenössische Technische Hochschule Zürich, 1990.
This is about engraver-quality typesetting with computers. It accepts the axiom
that notation is too difficult to generate automatically. The result is that
a notation program should be a WYSIWYG editor that allows one to tweak
everything.

Han Wen Nienhuys and Jan Nieuwenhuizen.
LilyPond, a system for automated music engraving.
Firenze, In XIV Colloquium on Musical Informatics, pages 167–172, May
2003.

Severo M. Ornstein and John Turner Maxwell III.
Mockingbird: A Composer’s Amanuensis.
Byte, 9, January 1984.
A discussion of an interactive and graphical computer system for music
composition.

Stephen Dowland Page.
Computer Tools for Music Information Retrieval.
PhD thesis, Dissertation University of Oxford, 1988.
Don’t ask Stephen for a copy. Write to the Bodleian Library, Oxford, or to the
British Library, instead. SP.

A. Parrish and John S. Gourlay.
Computer Formatting of Musical Simultaneities,.
Technical Report OSU-CISRC-10/87-TR28, Department of Computer and Information
Science, The Ohio State University, 1987.
This note discusses placement of balls, stems, dots which occur at the same
moment ("Simultaneity").

Gary M. Rader.
Creating Printed Music Automatically.
Computer, 29(6):61–69, June 1996.
Describes a system called MusicEase, and explains that it uses "constraints"
(which go unexplained) to automatically position various elements.

Kai Renz.
Algorithms and data structures for a music notation system based on
GUIDO music notation.
PhD thesis, Universität Darmstadt, 2002.

D. Roush.
Music Formatting Guidelines.
Technical Report OSU-CISRC-3/88-TR10, Department of Computer and Information
Science, The Ohio State University, 1988.
Rules on formatting music formulated for use in computers. Mainly distilled
from [Ross] HWN.

Eleanor Selfridge-Field, editor.
Beyond MIDI: the handbook of musical codes.
MIT Press, 1997.
A description of various music interchange formats.

Donald Sloan.
Aspects of Music Representation in HyTime/SMDL.
Computer Music Journal, 17(4), 1993.
An introduction into HyTime and its score description variant SMDL. With a
short example that is quite lengthy in SMDL.

Howard Wright.
how to read and write tab: a guide to tab notation.
.
FAQ (with answers) about TAB, the ASCII variant of Tablature. HWN.

Geraint Wiggins, Eduardo Miranda, Alaaaan Smaill, and Mitch Harris.
A Framework for the evaluation of music representation systems.
Computer Music Journal, 17(3), 1993.
A categorisation of music representation systems (languages, OO systems etc)
split into high level and low level expressiveness. The discussion of Charm
and parallel processing for music representation is rather vague. HWN.

Bibliografía sobre grabado musical

A Barksdale.
The Printed Note: 500 Years of Music Printing and Engraving.
The Toledo Museum of Art, Toledo, Ohio, January 1957.
‘The exhibition "The Printed Note" attempts to show the various processes used
since the second of the 15th century for reproducing music mechanically ...
’. The illustration mostly feature ancient music.

Donemus.
Uitgeven van muziek.
Donemus Amsterdam, 1982.
Manual on copying for composers and copyists at the Dutch publishing house
Donemus. Besides general comments on copying, it also contains a lot of
hands-on advice for making performance material for modern pieces.

William Gamble.
Music Engraving and printing. Historical and Technical Treatise.
Sir Isaac Pitman & Sons, ltd., 1923.
This patriotic book was an attempt to promote and help British music engravers.
It is somewhat similar to Hader’s book [hader48] in scope and style, but
Gamble focuses more on technical details (Which French punch cutters are
worth buying from, etc.), and does not treat typographical details, such as
optical illusions. It is available as reprint from Da Capo Press, New York
(1971).

Tom Gerou and Linda Lusk.
Essential Dictionary of Music Notation.
Alfred Publishing, Van Nuys CA, 1996.
A cheap, concise, alphabetically ordered list of typesetting and music
(notation) issues with a rather simplistic attitude but in most cases
"good-enough" answers JCN.

Elaine Gould.
Behind Bars.
Faber Music Ltd., 2011.
A comprehensive guide to the rules and conventions of music notation. Covering
everything from basic themes to complex techniques and providing a
comprehensive grounding in notational principles.

Karl Hader.
Aus der Werkstatt eines Notenstechers.
Waldheim–Eberle Verlag, Vienna, 1948.
Hader was a chief-engraver in a Viennese engraving workshop. This beautiful
booklet was intended as an introduction for laymen on the art of engraving.
It contains a step by step, in-depth explanation of how to cut and stamp
music into zinc plates. It also contains a few compactly formulated rules on
musical orthography. Out of print.

George Heussenstamm.
The Norton Manual of Music Notation.
Norton, New York, 1987.
Hands-on instruction book for copying (ie. handwriting) music. Fairly complete.
HWN.

Klaus Ignatzek.
Die Jazzmethode für Klavier 1.
Schott, 1995.
This book contains a system for denoting chords that is used in LilyPond.

Harold Johnson.
How to write music manuscript.
Carl Fischer, Inc., New York, 1946.

Erdhard Karkoshka.
Notation in New Music; a critical guide to interpretation and
realisation.
Praeger Publishers, New York, 1972.
(Out of print).

Mark Mc Grain.
Music notation.
Hal Leonard Publishing Corporation, 1991.
HWN writes: ‘Book’ edition of lecture notes from XXX school of music. The book
looks like it is xeroxed from bad printouts. The content has nothing you
won’t find in other books like [read] or [heussenstamm].

mpa.
Standard music notation specifications for computer programming..
MPA, December 1996.
Pamphlet explaining a few fine points in music font design HWN.

Richard Rastall.
The Notation of Western Music: an Introduction.
J. M. Dent \& Sons London, 1983.
Interesting account of the evolution and origin of common notation starting
from neumes, and ending with modern innovations HWN.

Gardner Read.
Modern Rhythmic Notation.
Indiana University Press, 1978.
Sound (boring) review of the various hairy rhythmic notations used by
avant-garde composers HWN.

Gardner Read.
Music Notation: a Manual of Modern Practice.
Taplinger Publishing, New York, 1979.
This is as close to the “standard” reference work for music notation issues
as one is likely to get.

Clinton Roemer.
The Art of Music Copying.
Roerick music co., Sherman Oaks (CA), 2nd edition, 1984.
Out of print. Heussenstamm writes: an instructional manual which specializes in
methods used in the commercial field.

Schirmer.
The G. Schirmer Manual of Style and Usage.
The G. Schirmer Publications Department, New York, 2001.
This is the style guide for Schirmer publications. This manual specifically
focuses on preparing print for publication by Schirmer. It discusses many
details that are not in other, normal notation books. It also gives a good
idea of what is necessary to bring printouts to publication quality. It can
be ordered from the rental department.

Kurt Stone.
Music Notation in the Twentieth Century.
Norton, New York, 1980.
Heussenstamm writes: The most important book on notation in recent years.